Anton Wallerstein's Elisabeth is a sentimental character piece, typical of the salon genre of the mid-19th century. It requires a sensitive touch to navigate its expressive, song-like melodies and varied dynamic textures.
At Henle 4 this is an intermediate piece that expects secure technique and real attention to phrasing. The main demands: a true singing tone, with the melody floating above the accompaniment; a left hand with real melodic or rhythmic responsibility of its own; and rubato that must breathe naturally without losing the pulse.
Beyond that, expect wide stretches that reward larger hands and clever redistribution.
Work on careful pedaling to connect the wide-span accompaniment figures.
Comparable difficulty and character — good candidates for what to learn next.
A level or two down with the same spirit — ideal if this piece is still out of reach.
Where this piece's skills lead: slightly harder works making similar technical demands.
Elisabeth (Op.125) is rated Henle level 4 of 9 — intermediate repertoire, roughly ABRSM grades 5–6. In the RCM system it corresponds to about level 4.
You should be comfortable at Henle level 4 — meaning you can already play level 3–4 pieces cleanly. Learning it one level early is possible as a stretch piece, but more than that usually leads to months of frustration.
A typical performance of Elisabeth (Op.125) lasts about 4 minutes.
Elisabeth (Op.125) is available as free public-domain sheet music on IMSLP — the score is linked directly from this page.
Pieces at a comparable difficulty and character include Clémence Isaure by Anton Wallerstein, Die Zelle im Nonnenwerth by Franz Liszt, Es war ein König in Thule by Franz Liszt — see the full similar-pieces list on this page.